Although Japan’s manga industry tends to be divided along gender and age lines (shojo for girls, shonen for boy), it does include LGBT characters. The genres of bara (also known as BL to the West) or yaoi depicting homosexual relationships. However, not all stories in these genres are pornographic.
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In this moody queer slice-of-life manga by Yuhki Kamatani (who self identifies as asexual and x-gender) we follow high school boy Tasuku Kaname who is terrified that he’s been outed. In his desperation, he rushes into a house near Hiroshima in Onomichi and discovers that it is actually a drop-in centre for LGBTQ+ people who are struggling with similar issues. The group of people that he meets in Onomichi help him to break down the emotional and mental walls that have been standing in his way, and find his own place as a LGBTQ+ person in an environment that is still not accepting.
Kamatani’s artwork, which is full of surreal imagery and visual analogy that conveys the characters’ feelings in a way that words cannot quite match, is breathtaking. The artwork makes even the most mundane of events, such as Aoba being punched by Umiko’s Airsoft gun or Ko getting her cheeks inflated to the maximum by Hifumi, profoundly meaningful.
Boys’ love (Japanese: , Hepburn: boizu rabu) is a genre of fiction media created by gay men that depicts homoerotic relationships between male characters. This subgenre is distinct from shojo (girls’ comics) and the wider erotic media known as yeijei or tanbi which feature female-male relationships. It is also different from sexyei, a fetishistic interpretation of homosexuality that’s often created by women for a female audience.
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When Butterfly Soup first released in 2017, it was a surprise hit for many queer gamers. Until that point, there weren’t any games that showed an older gay couple in a domesticated relationship and explored themes like homophobia or the intersections of race, gender, and sexuality.
This slice of life BL series follows the sweet and frequently funny daily routine of middle aged gay couple Shiro Kakei and Kenji Yabuki. While Shiro is a serious and penny-pinching lawyer, Kenji is an openly gay hairdresser who loves to cook. Each episode is filled with charming humour, heartwarming stories and will make you laugh and cry.
Gengoroh Tágame is a well-known creator of erotic Manga that deals with gay men and their issues. In the 2010s, he began producing non-pornographic gay themes and subject material for mainstream readers.
This series is unique in that it shows the domesticated side to same-sex relationships. Characters are nuanced and well-rounded, and lead actors can handle dramatic as well as comedic scenes. It is one the best BL Dramas of all time, despite its simple premise. You will feel happy and uplifted when you watch it.
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When childhood besties Kazusa and Ayumu start dating, they’re both scared. When Ayumu and Kazusa start dating, they’re both scared.
This manga depicts the struggles faced by LGBT+ characters in a realistic manner. This manga is also great for anyone who wants to learn about a different side to Japanese shojo.
Boys’ love (Japanese: , Hepburn: boizu rabu) or BL is a genre of manga and other media that focuses on homoerotic relationships between male characters. It is usually created by females for a woman’s audience and differs from the broader yaoi sexy genre created by males for their audiences.
BL is widely read by many people, despite its fetishization or latent fetishization. The lines between yaoi, BL, and LGBTQ+ are constantly blurring, however, as mangaka frequently cross over genres in order to produce the type of media that suites their creative leanings. It often leads to a lack in discussion of the issues that affect the LGBTQ+ community, particularly when it comes non-consensual sexual assault and misgendered character. These discussions are rarely addressed in Boy’s Love/BL and yuri manga, which operate within a sexy, alternative setting.
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Gone Home is a first-person game in which the player moves through a house and interacts with objects. The interactivity of the game relies heavily upon the player’s exploration of the house and the reading of notes hidden within it. As such, it is a kind of queer archive that is structured around the idea of an archaeological uncanny (Moshenska 2006)-the quotidian is rendered strange through decay and horror tropes.
The mood is enhanced by a moody music score, and Riot Grrl tracks played from cassette tapes that were found in the home. This combination of sounds creates a evocative ambience that evokes tensions of a woman living in a patriarchal culture. The game has female characters that aren’t caricatures. This is unusual in video games because most of the major roles are played by male actors.
Even though there are many games that feature LGBTQ themes, it is difficult to find any without latent or obvious fetishism. It is encouraging to see that more games now focus on the lives of women and their relationships, rather than male escapism. In her article about a queer video game called Gone Home Florence Smith Nicholls argues that “the game’s structure queers the domestic because it makes it unfamiliar.” It is an important step in a gaming industry where gender bias is often subtle and implicit.
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